It really aggravates me that I used the word grounded twice there.
arrasadoramente non sense, cruel e estranhamente divertido em alguns momentos. perverso, louco, e com um desfecho de deixar qualquer um com o queixo caído, tenso, agarrado à poltrona, esperando por um desfecho que nunca chegará.
It's hard to call this "Friedkin's best" because of The Exorcist and French Connection, but it's the best thing he's done in a long time. I enjoyed Bug, but love this film with every fiber of my being. To retread what everyone on the planet has said, I didn't think I'd like McConaughey in a role so much. The supporting cast was also great and I'd recommend watching this more than once and possibly with commentary.
The sexual politics are questionable but it is good to see Friedkin return form with Bug and this twisted, noirish adaptation of the Letts play. McConaughey is so good he makes you angry he has wasted so much of his career in forgettable romantic comedies. Friedkin manages to make thisfeel less stagey than his adaptation of Bug. Recommended
Sadistic Southern gothic from playwright Tracy Letts showcasing Friedkin's considerable but often wasted talents behind the camera. Opening up the play and revelling in its sadism, misogyny and bad taste it becomes orchrestrated mayhem. Performances are good all around; Hirsh, Temple, Gershon and Church all well cast but it is McConaughey who rises to new depths surpringly enough here. Disturbing, harrowing work.,
One of the most bizarre experiences I've had watching a movie. Sick and twisted, yet so intriguing.
From the heart of Texas comes this cold, visceral neo-noir. Teeming with color, almost like a technicolor print, Friedkin's portrait of a truly dysfunctional family and their quest to make a quick dollar proves brutal and unmerciful. Shot with masterful skill, and amazing acting, Killer Joe is frankly, incredible. I can't describe it. Wow.
The kind of movie that just makes you wanna go yeehaw. Grotesque, pungent Southern Gothic-cum-neo-noir: wickedly immoral, sordidly enthralling, overseeing dynamite acting line-up to boot; sheer ambience over gratuity - intensely repulsive. Dream on, Lee Daniels - this is how you do it.
I can’t remember the last time that I was so thoroughly entertained by a film. This taut slow-burner builds momentum and completely steamrolls over you with a final scene that will be remembered for a long time. "Killer Joe" is a giant slice of deep fried Southern Gothic that is deliciously camp and perfectly over-the-top.
Who would thought the director of "The French Connection" would re-emerge, towards the end of his career, as one of the foremost purveyors of Southern Gothic? While "Killer Joe" may not pursue its ideas to as satisfying an end as "Bug," it is by and large a flashier film and therefore more entertaining in the moment. The story delves into some extreme subject matter, but Friedkin is in complete control of the material and his only goal is to stay true to his characters. And that means frequently going to those extreme places. The pleasure of "Killer Joe" is how much unexpected humor Friedkin is able to summon up from his grand guignol.
Friedkin puts motorcycle chase scene near start so you know it’s a movie, but everything important happens in a trailer home's living & dining rooms, hinting @ the film’s origin as a play. Joe only *seems* superhuman as he fills power vacuum in nuclear family @ tail end of radioactive decay. Gershon: what a trooper. Best girl/gun ending since Heathers (1988) leaves enough doubt to inspire lively mental continuations.
Well made and well acted. The humor was unexpected and appreciated (and needed). Friedkin keeps the whole thing grounded and realistic. Characters that could easily have been turned into caricatures are grounded by his controlled use of camera and an overall sense of calmness and confidence. A nice surprise in a year where I've found most films disappointing.
Friedkin’s socio-pathetic pursuit of macabre elicits gut wrenching contractions, uneasy laughter that's wrong for the wrong reasons. Collateral damage lingers like fallout, wounding hearts, poisoning sensibilities. Theater of the absurd is lost in translation, undermining brave performances, reducing bad judgment and dumb decisions as moot trailer park happenstance. Steer clear or suffer, debauched by chicken leg.
Although the narrative comes off as disjointed at a few points, the film is as cool and charming as its title character. While it does a good job of invoking white trailer trash, the film's real selling point is McConaughy, and the film's shocking climax will likely echo in viewers' memories long after its conclusion.